(Photo by Nickelodeon)Before How To Train Your Dragon, before Adventure Time and Gravity Falls, there was Avatar: The Last Airbender. Nickelodeon premiered a show 15 years ago that was unlike anything they (or audiences) had seen before. Taking the serialized storytelling of anime shows as well as epic world-building and lore from big film franchises of the time like Harry Potter and Lord of the Rings, the result was a show with epic action, a rich mythology, and a story that still resonates to this day.Now that Netflix and Nickelodeon have announced a live-action remake of the show, and to celebrate its 15th anniversary on February 21, Rotten Tomatoes spoke with animator and director Giancarlo Volpe about his work on Avatar: The Last Airbender. The director reflected on what made the show so special, and what advice he’d give show creators Michael Dante DiMartino and Bryan Konietzko on their new adaptation.1. AVATAR FEATURES RICH WORLD-BUILDING“Water. Earth. Fire. Air. My grandmother used to tell me stories about the old days…” so begins the first episode of the show, with an opening monologue that sets up the world of the show and its different cultures, as well as the conflict and the stakes at hand. Though the show only lasted three seasons, Avatar introduced us to a world full of history and lore, all without the need for overt exposition.“You’d be surprised how little can set people off in the right direction,” Volpe told Rotten Tomatoes. “Just contrasting the air nomads, who have elaborate temples that are difficult to reach unless you can almost fly, with the water tribes that are primarily at the Northern and Southern poles of the planet surrounded by water and ice. Just the little things already make people’s imaginations soar.”Indeed, the show feels more in line with something like Star Wars, which introduced us to alien creatures, technology, and history either visually or in passing conversation (like Luke name-dropping the Clone Wars without further explanation). In the first episode, we instantly feel that this is a world both familiar and completely different than our own. When we meet two of our main characters, siblings Sokka and Katara are out fishing. Katara uses some magical abilities that her brother refers to as “an ancient art unique to our culture.”Their village closely resembles traditional Inuit culture, just like the other nations resemble real cultures like ancient China, imperial Japan, and Tibetan Buddhists, yet we also see things like a “tiger seal” or a group of “otter penguins” which are exactly what you imagine. The show introduces us to past wars, kings, kingdoms and legends all via conversation or subtle visual cues, making its world feel lived-in. Even if you probably won’t be able to write a history book about the world of Avatar like you would Middle-Earth, you get a sense that a lot more is happening on the world than what our characters are going through.2. THE LAST AIRBENDER’S STORY FOR KIDS GETS DARK(Photo by Nickelodeon)Even though it was primarily aimed at kids, played with juvenile humor, and had a Y-7 rating, Avatar wasn’t afraid to explore some dark subjects. From the opening monologue we know that the world of the show has been involved in a war for 100 years, but by episode 3 we learn the serious consequence of that war.“The air benders were wiped out while Aang was frozen for a hundred years,” Volpe explained. “We basically dealt with a Holocaust in our third episode. And we always had to do it in a way that made it appropriate for the Nickelodeon channel and brand. We saw how they handled that kind of subject matter in anime and figured out how to tell those stories in an accessible way. It became more about how the characters react to it, more than the thing itself. We don’t explicitly say the word genocide, but we see Aang’s pain at seeing his old friend dead, and we can imagine the rest.”Avatar does deal with heavy themes such as war crimes, class division and corporal punishment, but it’s always through the eyes of its young cast. With this, the show doesn’t have to explicitly tell us anything, but show enough of a hint that older audiences know the gravitas of what’s going on, while younger audiences understand how the characters feel about what’s going on. They may not be able to express that there is a puppet government in the Earth Kingdom, but they know the King isn’t the one in power, because our characters seem confused when the king isn’t aware of the war outside his walls. They may not know what executions are, but they know that the water benders the Fire Nation captured never returned home.3. AVATAR FEATURES ACTION WORTHY OF A BLOCKBUSTER FILMEven if we had seen action cartoons before Avatar, none had its eye for action or sense of scope. In just 3 seasons we got hand-to-hand combat that rivaled classic kung-fu movies, and large-scale battles that rivaled big-budget Hollywood blockbusters. Each of the four nations had their own unique style of bending, inspired by real martial arts, making the fight scenes look fluid and grounded in reality. The show creators also insisted on animating the show as if it was live action.“I was not used to drawing stuff in all these crazy angles,” Volpe told us. “But Bryan [Konietzko] would ask us to use a wide-angle lens to make it feel cinematic.”By season 3 the show included full-scale invasions with dozens of war balloons, tanks and fighters that brought audiences to the middle of a battleground. The production team took some lessons from watching anime in learning how to do big battle scenes. We had ways we could cheat it so that it implies Lord of the Rings–style battling, but you’re not killing yourself doing that,” Volpe said. “But what works in your favor is that you care about who wins, so as long as we point the camera at that person the show feels more satisfying that simply watching 800 tiny fire benders from above.”4. THE SHOW S CHARACTERS GROW UP WITH THE AUDIENCEJust like live-action shows, the vast majority of cartoons were episodic, meaning each episode could stand on its own so that if you missed an episode you could still understand everything. Though Avatar still has fairly standalone episodes, the writers still had a clear path in mind, and all the actions taken by the characters have dire consequences.This is done mostly through character arcs, as we see Aang, Katara, and Sokka grow up and mature through the show’s run, as does the villain, Zuko. As they travel the world to find a way to end their war, Aang finally accepts his responsibility as Avatar, Katara learns to cope with her trauma and forgive the Fire Nation for taking her mother away from her, and even Sokka takes more of a leadership role.The show’s greatest feat, however, was its treatment of Prince Zuko of the Fire Nation, and how he went from villain to hero. During the span of its three seasons, we saw Zuko struggle with his legacy and what he thought was his duty. We learned of his complicated past and the events that led to him becoming a reluctant villain, and even see him confront the sins of his past and his nation by meeting those who were victimized by the war. This all serves to make Zuko’s struggle to become good all the more poignant, as audiences see him consider and even attempt at turning sides several times, so that when he finally follows through and decides to help the Avatar, the audience knows he earned forgiveness.“I remember there was a debate when we made season 2,” Volpe explained. “The writers considered turning Zuko at the end of that season, but then it felt like it was too early, and it would actually hurt more if he messed up and took longer.”5. AVATAR: THE LAST AIRBENDER HAD A PERFECT ENDING(Photo by Nickelodeon)Because of its serialization, there had to come a point when Avatar would end. Where most other contemporary cartoons would simply run its course with an episode that resembled any other, Avatar was building up to an epic finale since its first handful of episodes. We knew Aang would have to face and defeat the Fire Lord because otherwise he would take over the world and enslave everyone, we knew the show couldn’t end before and it couldn’t really continue past it, so the audience knew they’d have to prepare to say goodbye.And what a finale it was, structured as a two-hour movie, Avatar tied up loose ends, paid off character arcs and relationships, and deepened the mythology, culminating in Aang fulfilling his destiny and bringing balance back to the world in one of the most epic fights ever produced in any medium.It also proved to be a very influential finale, as Avatar: The Last Airbender continues to inspire changes in what wee think of as children’s animation.“What I saw after Avatar was a number of shows that were recruiting me that wanted more of what we did on the show, usually when it came to the fighting styles of that show,” Volpe said. “Likewise, our approach to serialization, doing standalone episodes that still build a coherent and linear story, is a request I hear to this day. Streaming works incredibly well with this, because you’re much more likely to want to watch the next episode if the story is serialized. There definitely seems to be a demand for something more like Avatar, it changed the type of jobs I was getting after it wrapped up, going from King of the Hill–style comedies to things like Star Wars.”Of course, though the story of Avatar: The Last Airbender may be over, Netflix decided it wasn’t done with Aang and his friends and announced last year that original creators Michael Dante DiMartino and Bryan Konietzko will return to make a live-action adaptation of the show.Volpe had a piece of advice for the remake: “I think what’s interesting is figuring out who the target demographic is for the live-action show. Are they catering to the next wave of children or the 30-year-olds who watched the show when they were 15 or 20? If so, it could give them some artistic license to age it up. It’s an intriguing question to ponder.” If you have a suggestion for a movie or show you think we should do an episode on, let us know in the comments, or email us at email@example.com.Meet the hostsJacqueline Coley is an editor at Rotten Tomatoes, with a focus on awards and indie coverage but with a passion for everything, from the MCU to musicals and period pieces. Coley is a regular moderator at conventions and other events, can be seen on Access Hollywood and other shows, and will not stand Constantine slander of any kind. Follow Jacqueline on Twitter: @THATjacqueline.Mark Ellis is a comedian and contributing editor for Rotten Tomatoes. He currently hosts the Rotten Tomatoes series Versus, among others, and can be seen co-hosting the sports entertainment phenomenon Movie Trivia Schmoedown. His favorite Star Wars movie is Jedi (guess which one!), his favorite person is actually a dog (his beloved stepdaughter Mollie), and – thanks to this podcast – he s about to watch Burlesque for the first time in his life. Follow Mark on Twitter: @markellislive.On an Apple device? Follow Rotten Tomatoes on Apple News.
让《天刀》手游变成如今模样的最大原因，则是其仗着古风武侠手游领域竞争对手少，IP又足够大粉丝群体多而狂设“氪金项目”，导致玩家接受不了纷纷退坑。ag环亚体育首页As Dwayne Johnson, Jason Statham, and Idris Elba square off in the Hobbs Shaw trailer, we are witnessing the Fast Furious franchise s long-destined transformation from street racing movies to heist flicks to techno-action roller coasters. Seriously, we have Elba in body armor that looks like it was made in a Stark Industries lab, armored trucks corkscrewing in mid-air deflecting a hail of machine gun fire, vertical fight scenes on the outside of skyscrapers, and Vanessa Kirby, obviously jealous she didn t get to do the halo jump in Mission: Impossible Fallout, in for some of that blockbuster adrenaline.And because nothing gets by the internet, the lunacy of Hobbs Shaw has set fire to the social media film community. Hobbs Shaw doesn t drop until August 2 this year, but you can read the best, funniest social reactions here and now:Somewhere in america Tyrese is watching this again on a smashed screen— BeardFace McNasty (@SholaThompson) February 1, 2019They have super powers now? Jumping the shark may be an understatement for this franchise. IG: morenol1990
4. 呼朋唤友 随心所欲
5. HD 画质与高品质音讯
6.19.7 5月喜迎With Thanos (Josh Brolin) presumably neutralized at the conclusion of Avengers: Endgame, it will be time to introduce a new Big Bad for the surviving members of the team to confront in two-to-four years time. And if Marvel Studios continues to import things from the comics, it is possible that character will appear in an Endgame stinger scene, much the same way Thanos flashed his winning smile at the conclusion of the first Avengers film.Considering the studio has trained us so well to anticipate the next big thing before the current story’s end, let’s take a look at some potential foes the Avengers — in what ever form they take after Endgame — may face. Some may be familiar faces while others are only possible thanks to Disney s purchase of 20th Century Fox. But all would be formidable foes in Phase 4.Baron Mordo(Photo by © Walt Disney Studios Motion Pictures)First Comic Book Appearance: Strange Tales #111First MCU Appearance: Doctor StrangeBig Bad Potential: Like Loki (Tom Hiddleston) before him, Mordo could emerge as a much larger player in the MCU thanks to the talents of actor Chiwetel Ejiofor and Mordo’s brand of binary justice. Those sorts of characters inevitably clash with funky teams like the Avengers. As seen in the Doctor Strange post-credit scene, he has determined the mystic arts corrupt all who use them and that he must eliminate all remaining sorcerers. Of course, that suggests he will come after Stephen Strange (Benedict Cumberbatch) sooner than later, like in the Doctor Strange sequel. But complete defeat may not be in his future and his use of the Living Tribunal’s staff may lead him to amass more power to further to his cause. At that point, he would be an Avengers-level opponent.(Photo by © Walt Disney Studios Motion Pictures)First Comic Book Appearance: Journey Into Mystery #101First MCU Appearance: Thor: RagnarokBig Bad Potential: Continuing with the Loki theory of Big Bads emerging from established antagonists, Hela (Cate Blanchett) is a worthy adversary for the team — particularly if Thor (Chris Hemsworth) is not around to help them defeat her. She’s an accomplished fighter who wiped out the Warriors Three and most of the Asgardian defense forces with hardly a sweat. She is also powerful enough to destroy Mjolnir. Of course, there is one pesky problem with this potential Big Bad: she’s dead. Killed by Surtur during the final battle in Asgard, she would seemingly be unavailable. But then, consider the way the gods of Asgard experience death and rebirth. Loki regularly cheats death and he’s but a mere trickster. She is the god of death, and presumably has a say in how long she rests in peace outside the nine realms.Considering it took destroying one of those realms to stop her last time, the Avengers would need a lot of extra strength to even hold her in a stalemate.Doctor Doom(Photo by @ 20th Century Fox )First Comic Book Appearance: Fantastic Four #5First MCU Appearance: N/A, but he has debuted three times in three different attempts at starting a Fantastic Four film series.Big Bad Potential: With Disney’s recent purchase of the 20th Century Fox film studio, the film rights to The Fantastic Four revert to Marvel. And even though Marvel Studios president Kevin Feige has said they will not use the X-Men for a long time, that does not mean there isn’t room for one of the greatest Marvel villains to make his way into the Marvel Cinematic Universe. For instance, there is a Doctor Doom film script written by Legion executive producer Noah Hawley while Fox was still in control of the character. Hawley even recently said that Feige asked about the script in the run-up to the Disney/Fox deal closing. He described the story as a something of a political thriller with Doom already established as the ruler of Latveria. Which would make him a markedly different threat than any other that the Avengers have faced. What do you do when your enemy is not only a world leader, but one beloved by his people? The team would have to fight a war of perception as much as fight with their powers. And that s a pretty appealing reason to integrate the character into the MCU, even if the other former Fox-controlled properties sit on the bench.Fin Fang Foom And/Or The Mandarin(Photo by @ Marvel Comics, Strange Tales #89)First Comic Book Appearance: Strange Tales #89 (Foom), Tales of Suspense #50 (The Mandarin)First MCU Appearance: N/A, though an image of Foom appears in Iron Man. Trevor Slattery (Ben Kingsley) and Aldrich Killian (Guy Pearce) both claimed to be the Mandarin in Iron Man 3, but as the Marvel One-Shot released with the film on Blu-ray revealed, the true Mandarin has yet to be seen.Big Bad Potential: Predating Marvel Comics superheroes by a handful of years, Foom was one of the monsters created by Jack Kirby and he is just a delight to behold. Initially presented as a dragon of Chinese legend, Foom was later revealed to be an alien shapeshifter after he was finally integrated into the Marvel Universe in the 1970s. While the rest of his alien brethren set out to conquer the world early in human history, Foom, as the navigator of their starship, laid dormant for centuries. Eventually, his ship was discovered by a man who stole 10 sophisticated control rings from the ship and set himself up as The Mandarin. Foom eventually woke up and caused plenty of trouble for superheroes across the planet.The Mandarin entered MCU history in Iron Man 3 while the Ten Rings debuted as a terrorist organization in the first Iron Man film. But Foom represents a much larger threat should a defeated Mandarin awaken him from his long slumber to challenge the Avengers. It is the kind of villain team-up we ve always wanted to see. But it also implies the Mandarin is a foe worthy of the team s attention. We re already convinced he will be the villain in Shang-Chi, so it is entirely possible he will pose a worldwide threat in the not-too distant future. Provided, of course, Marvel wants a more human Big Bad with a pet dragon.Adam Warlock(Photo by @ Marvel Comics, The Infinity Watch #1)First Comic Book Appearance: Fantastic Four #66-67 (as “Him”), Marvel Premiere #1 (as Adam Warlock)First MCU Appearance: The cocoon seen at the end of Guardians of the Galaxy Vol. 2 is probably a gestating Adam Warlock. He was supposed to appear in the film at one point.Big Bad Potential: Hear us out. While typically presented as a protagonist, Adam Warlock has made some questionable choices in the pages of Marvel Comics, particularly when in possession of the Infinity Stones. And presuming the Infinity Stones are not destroyed by the conclusion of Endgame, it is possible he will end up with them and attempt to purge the universe of evil, as he once attempted to purge the evil within his own soul, creating a version of himself known as the Magus, in the comics. The consequences on a universal scale could be disastrous. And perhaps, unlike Thanos, this change will be initially imperceptible to our heroes. It would be something of a slow burn for the overall MCU film series, which may be a nice change of pace after Endgame.The Celestials(Photo by Chuck Zlotnick/©Walt Disney Studios Motion Pictures/courtesy Everett Collection)First Comic Book Appearance: Eternals #2First MCU Appearance: Guardians of the GalaxyBig Bad Potential: Thanos has set the precedent for Big Bads in the MCU, but there is always the possibility for Marvel Studios to go bigger. How does one go bigger than the Mad Titan? Well, there are the Celestials. These are beings of immense power. One is shown wielding the Power Stone when Peter Quill (Chris Pratt) and Gamora (Zoe Saldana) visit the Collector (Benicio Del Toro) in Guardians of the Galaxy. Peter’s own father Ego (Kurt Russell) lists himself as a member of the cosmic-level race.Back in the comics, the Celestials are a key component of the Marvel Universe’s secret origin. They went from planet to planet creating beings like the Eternals — soon to be featured in their own Marvel Studios film — Deviants, and others. Their tinkering led to the Skrull ability to shapeshift and, ultimately, the appearance of superheroes on Earth.Though humanoid, they tend to appear around 2,000 feet tall to human eyes. And in the pages of Marvel Comics, they are said to be indestructible, with the few who have been defeated instantly regenerating. That power may make them too absurd of an opponent for the Avengers, but then again, Ego was defeated and Knowhere, the space port where the Collector kept his collection, is said to be the skull of a dead Celestial. So while they may be more vulnerable in the MCU, just one of their number would post quite a challenge to the Avengers.Galactus(Photo by © Marvel Comics, Moon Girl and Devil Dinosaur #6)First Comic Book Appearance: Fantastic Four #48First MCU Appearance: N/A, though he did make an appearance as an alien death cloud in Fox’s Fantastic Four: Rise of the Silver Surfer.Big Bad Potential: If there is one certainty in big budget studio filmmaking, it is this: Galactus will be a MCU Big Bad in the fullness of time. It is only a matter of when.One of the early cosmic-level entities devised by Jack Kirby and Stan Lee, Galactus famously came to Earth to consume all its energies to satiate his enormous appetite. But in a curious twist, this does not make him inherently evil. Like all sentient life in the universe, he must consume other life to survive. Unfortunately for the rest of us, he exists on such a massive scale that a planet like Earth is a good dinner. This definitely sets him apart from Thanos as the Avengers — and likely the Fantastic Four — would have to weigh their consciences between stopping him and respecting the right for such a being to survive. Also, as with his comic book appearances, the heroes will have to come up with a pretty clever reason for him to skip his Earth-sized meal.But will all of that compel Feige to steer a MCU Galactus toward Earth in the near-future? That remains to be seen. As with the X-Men, Galactus may be a character not included in the five-year plan the studio will reveal after the release of Endgame. At the same time, he is the sort of character who could be seeded as early as Endgame’s stinger scenes and lay in wait, like Thanos, across the span of six years. As we said before, Galactus is an eventuality.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
In top TV and streaming news this week, a stunning development as The CW loses a superhero lead and excited speculation on Timothy Olyphant’s The Mandalorian season 2 role. Plus, Muppets, Adam Sandler, and the week s top trailers.TOP STORYBatwoman Fans Are Shocked, While CW Execs Plan to Recast for the Series’ Season 2 Return (Photo by Frank Ockenfels 3/The CW)The biggest twist for the first season of The CW’s Batwoman series came off-screen: titular star Ruby Rose announced on May 19, two days after the first season finale of the series aired, that she would not return for Batwoman’s sophomore installment.“I have made the very difficult decision to not return to Batwoman next season, Rose said in a statement. This was not a decision I made lightly as I have the utmost respect for the cast, crew and everyone involved with the show in both Vancouver and in Los Angeles … Thank you to everyone who made season one a success — I am truly grateful.”From a joint statement issued by The CW, Warner Bros. TV and producer Greg Berlanti’s Berlanti Productions: [We] thank Ruby for her contributions to the success of our first season and wish her all the best. The studio and network are firmly committed to Batwoman’s second season and long-term future, and we — along with the show’s talented creative team — look forward to sharing its new direction, including the casting of a new lead actress and member of the LGBTQ community, in the coming months. Berlanti was committed from the project’s beginning to casting a member of the LGBTQ community for the role of Kate Kane, Bruce Wayne’s cousin and the person who would eventually become Batwoman.(Photo by Elizabeth Morris/The CW)Though statements from both Rose and the producers don’t give any reasons for the actress’ departure, TVLine reports the decision to recast the role was a mutual one. Rose was reportedly unhappy with the long hours required of a network series lead, which made her a less than an enthusiastic co-worker.“It wasn’t 100-percent her decision,” a source close to the show told TVLine. “It was a breakup. She wasn’t happy working on the show, and did that make her fun to work with? No. So everyone decided it would be in the best interests of the show, and for all concerned, if they parted ways. It just wasn’t a good fit.”The CW didn’t plan for Batwoman to return until 2021, giving the network plenty of time to find its new superheroine.The Mandalorian Season 2: Is Deadwood Star Timothy Olyphant Playing a Sheriff Again?(Photo by Warrick Page/HBO)When news broke last week that Justified and Deadwood star Timothy Olyphant would be part of The Mandalorian’s second season cast, nothing was known about his specific role. But Slashfilm is reporting this week that Olyphant will be playing a character named Cobb Vanth, “the self-appointed sheriff of the Tatooine-based settlement Freetown,” who wears a set of armor that may have once belonged to bounty hunter Boba Fett (who, as was previously reported, will be played by Temuera Morrison).Slashfilm cites the character profile of Vanth as revealed in author Chuck Wendig’s Aftermath series of books for what little is known about Vanth, including that he was once a slave who is now committed to keeping Tatooine free of criminals.Sounds like Seth Bullock, and Raylan Givens, to us, and a clever bit of casting by The Mandalorian crew. Season 2 of the Disney+ series premieres in the fall.New Trailers: Netflix Stacks Its Summer Deck with Trailers for Spike Lee’s Da 5 Bloods, Space Force, Umbrella Academy, and MoreVietnam War drama Da 5 Bloods, directed by Spike Lee and starring Chadwick Boseman, Delroy Lindo, and Paul Walter Hauser, is coming to Netflix on June 12.More trailers:Space Force, season 1, starring Steve Carrell, Lisa Kudrow, and John Malkovich (Netflix)The Umbrella Academy, season 2, starring Ellen Page (Netflix)The Last Days of American Crime, starring Edgar Ramirez, based on the graphic novel by Rick Remender and Greg Tocchini (Netflix)13 Reasons Why, the final season, starring Dylan Minnette (Netflix)Quiz, a miniseries about a British man convicted of cheating his way to a million-pound win on Who Wants to Be a Millionaire?, starring Michael Sheen and Sian Clifford (AMC)Dear …, a docuseries profiling iconic personalities and the people they’ve inspired (Apple TV+)Queer Eye, season 5 (Netflix)Helter Skelter: An American Myth, a six-part docuseries about the Manson Family (Epix)Welcome to Chechnya, a documentary about activists risking their lives to help LGBTQ people suffering detention, torture and sometimes death at the hands of the authorities in Chechnya (HBO)Taste the Nation with Padma Lakshmi, season 1, a travel/food docuseries (Hulu)The Woods, season 1, a mystery limited series based on the novel of the same name by Harlan Coben (Netflix)Burden of Truth, season 3, starring Kristin Kreuk (The CW)For all the latest TV and streaming trailers, subscribe to the Rotten Tomatoes TV YouTube channel.Casting News: Adam Sandler Will Star in Netflix’s Basketball Movie Hustle(Photo by Kevin Winter/Getty Images)Adam Sandler will star in the Netflix movie Hustle, about a washed-up basketball scout who sees his redemption in a streetball whiz from another country. He talks the young hoops player into leaving his family behind and moving to Los Angeles to make himself a candidate for the NBA draft. The movie will be co-produced by Sandler’s Happy Madison productions and LeBron James’ SpringHill Entertainment.Once Upon a Time and Big Love star Ginnifer Goodwin will co-star with Eliza Coupe (Scrubs) in the Fox pilot Pivoting, about a trio of friends who decide to make some changes in their lives when their childhood friend dies. Goodwin will play Jodie, a married mom of three who begins an affair with her trainer as part of her new life plan. (Deadline)Development News: The Muppets Return to TV with Muppets Now on Disney+(Photo by Disney+)Disney+ announced a July 31 release date for Muppets Now, a live-action Muppets series. The six-episode meta comedy will find Scooter under pressure to deliver a new Muppets series for streaming, impeded, of course, by shenanigans from his fellow Muppets and a lineup of guest stars.The Tom Hanks WWII drama (the latest Tom Hanks WWII drama) Greyhound, which was scheduled to be released in theaters on June 12, has been picked up by Apple TV+ and will debut on the streaming service later this year. Hanks stars in the film and wrote the screenplay, which is based on the 1955 novel The Good Shepherd by C.S. Forester.David E. Kelley and Melissa James Gibson (House of Cards) will be co-showrunners, writers, and executive producers of the Netflix anthology series Anatomy of a Scandal. The six-episode series is based on the bestselling book of the same name by Sarah Vaughan, and will unfold the scandalous stories of privileged Brits and the women caught in the middle of them.Baby Driver director Edgar Wright has teamed up with longtime collaborators Nira Park, Joe Cornish, and Rachael Prior on Complete Fiction, a production company that has already committed to three TV series for Netflix: Lockwood Co., a supernatural detective story based on a series of novels by Jonathan Stroud; a historical fantasy epic, The City of Brass (The Daevabad Trilogy), from author S.A. Chakraborty; and The Murders of Molly Southbourne, based on a sci-fi horror series from author Tade Thompson.Steven Spielberg will produce a Broadway musical adaptation of the NBC drama Smash, which revolved around the making of a Broadway show. The 2012-13 cult fave featured original music by Tony-winning composers Marc Shaiman and Scott Wittman, who will also provide music for the Broadway show. Spielberg’s co-lead producers are Robert Greenblatt and Neil Meron, while Tony winner Bob Martin (The Prom) and Rick Elice (Jersey Boys) will write the book. The musical-within-the-musical is called Bombshell, which is a biography of Marilyn Monroe.Jamie Lee Curtis has signed a first-look deal with Blumhouse that will include the creation of TV and movie projects.
It s still a bit unclear what Sony s ultimate plans are for the various Spider-Man characters they currently hold the rights to, but while we and possibly they try to figure it all out, the studio continues to move forward with Spidey-adjacent solo films. The latest is Venom: Let There Be Carnage, the sequel to 2018 s Venom, focusing on the popular comic supervillain-turned-antihero personified by Tom Hardy, who both voices the alien symbiote Venom and plays the journalist who inadvertently bonded with him, Eddie Brock. In this follow-up, Eddie/Venom faces off against a similar villain in Woody Harrelson s Cletus Kasady, a serial killer who offers his life story to Eddie and, thanks to a few drops of Eddie s blood, ends up with a maniacal alien parasite of his own. The first Venom, directed by Ruben Fleischer, wasn t a critical darling by any means, but a not insignificant portion of the moviegoing audience appreciated its off-kilter humor and willingness to go to some weird places. Andy Serkis takes the reins for Let There Be Carnage, while Hardy himself helped pen the script, and the pair double down on the insanity of the first film to deliver something that feels more akin to a buddy comedy than a superhero blockbuster. Critics say the final product is bizarre and unapologetically silly but also clearly aware of its quirks, and it should appeal to fans who enjoyed the first film, as well as anyone who appreciates a gonzo Tom Hardy performance.
Eggsy s come a long way. This month, Kingsman star Taron Egerton swaps tailored suits and ultra-violence for sequins and songs in Rocketman, director Dexter Fletcher s biopic about music superstar Elton John. The first reviews from the Cannes Film Festival, where the movie premiered to a standing ovation, say Egerton captures the flamboyance and the heart of John, and that Rocketman could be a game-changer for the 29-year-old British actor.In this exclusive extended sit-down, Egerton talks about his road to becoming Elton John, one that began with the first time he saw The Lion King. Egerton recalls the first time he met John – it was on the set of Kingsman: The Golden Circle, and John made him blush – and the bond the two men have developed. He also takes us through the challenges of becoming Elton John, from intensive vocal training to learning the piano (or at least learning how to convincingly fake it), and shares what John has meant to his life and his career.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.
Hans Zimmer is one of just a handful of working movie music composers who can genuinely be called a household name. And no wonder: German-born Zimmer created the memorable scores for movies like Gladiator, The Dark Knight, and – Bwoaaaah! – Inception. Perhaps most famously, he composed the music for Disney s The Lion King, which was the first animated feature he had worked on (he would go on to compose scores for The Prince of Egypt, Madagascar, and more). Working closely with Lebo M., the South African artist whose voice many will know from the The Lion King s iconic opening chant, Zimmer created music for the Disney classic that terrified us as wildebeest stampeded through a canyon and moved us as a young lion stared at his own reflection and discovered a king staring back at him. It also nabbed him his first, and so far only, Academy Award. Zimmer recently returned to the story of Simba, Mufasa, Nala, and the rest of the Pride Lands characters for Jon Favreau s new take on The Lion King. Here Zimmer reveals what drew him back to the story, why he hesitated at first, and what s changed in the 25 years since the animated film s release.Joel Meares for Rotten Tomatoes: Someone I saw this movie with turned to me at the beginning and said, If I don t cry during the stampede, it will mean Hans hasn t done his job.” When I saw her at the end, she was bawling. So, I wanted to know how did you approach that particular scene the second time around?Hans Zimmer: Cautiously. If you think that was a dangerous comment, my oldest daughter who I d written the original movie s [music] for in the first place 25 years ago, she was still saying to me, Dad, you better not make a mess of this one. All the themes that I wrote all those years ago – I didn t know how to do animation [at the time] – so all the themes are slightly too epic and slightly too big, and they needed that little bit more space and that little bit more breath to really resonate. I mean, especially the stampede and its aftermath, I can t even put into words, you know, the benefit from having more space. More breathing room. More chance to battle. More chance to focus on the protagonist. More chance to focusing on the story.(Photo by ©Buena Vista Pictures/Courtesy Everett Collection)Rotten Tomatoes: You said that your daughter said, Don t make of a mess of it. Did you yourself have any personal hesitation about coming back to a project that you haven t worked on for a very long time and that was so beloved – and was kind of perfect already?Zimmer: Well, “kind of perfect,” I never think about things like that. But “loved,” yes. I had a very short conversation with Jon [Favreau], which basically went him saying, Come down, let me show you something. And that was 100 percent committing. I went down. He put me in a black room, showed me [footage of the film’s opening]. It completely and utterly surprised me and moved me, even though I sort of knew what to expect. And we look at it differently than we looked at it 25 years ago. I mean, we truly do. I ve spent now quite a bit of time working with Sir David Attenborough. So partly, I was looking at it from the sense of where s the world heading? It felt like I was on a slightly different mission. It was, even if the story is the same, the world has changed, so the meaning of the story has changed.Rotten Tomatoes: In terms of what was practically involved with producing the score, how did you approach it differently from the first time? Zimmer: In the last 30 years… Usually, I never leave a dark windowless room, but eventually I did, and eventually I got onto a stage, and eventually I – despite stage fright – I started playing things live. And I did Lion King at the Coachella festival, and performing it, and watching the reaction of an audience and performing it, it was like these amazing musicians that I now have access to, made me realize that this isn t a normal film score. We can do this as a performance. In a normal film score, the orchestra or the players never know why they are playing the notes, because they don t know the story. Everybody knew the story [this time]. So I managed to get a commitment that was just extraordinary, and the performance, and I made it all about the performance. I think for a movie that relies that much on technology, there s a sense of improvisation and a sense of performance in this movie, far more than the original one. And a sense of humanity in the story. Everything is slightly paradox, but I think that s what gives it its great strength.(Photo by Courtesy Everett Collection)Rotten Tomatoes: And so you performed everything on the score live with an orchestra?Zimmer: Yeah. I mean, I said to Jon and everybody at Disney, Can I do this? Can I try this experiment?” You know, I had 102 people in the room. We re just going to rehearse. We re just really going to get it under our fingers, and then we re just going to go and do the whole movie for a couple of days. And don t worry about wrong notes. Next time around, we ll probably figure it out. It truly was exciting. And that s what I was trying to do, is get the authenticity of really hearing the musicians.Rotten Tomatoes: When you originally wrote the music for the stampede scene, the track To Die For in the original and new score, were you drawing from compositions or scores that you had heard before? What inspired the musical moment there?Zimmer: Not really. I mean, I ll tell you what I did draw from. It s just my childhood memories of listening to Mozart. It s like I was always slightly worried about this idea that as a German, you re sort of pillaging the culture of Africa. So one of the things I did on the first one, and I ve before with Lebo M., it s like I kept saying, I m a German, so I m going to write with a German accent, just the way we re speaking now. And let me go and take this into Africa and give it to Africa, and let them just respond with their culture, and see what happens where the two cultures collide, if another new thing can come out of it. So I think that s really part of the strength of the score.(Photo by © Walt Disney Studios Motion Pictures)Rotten Tomatoes: What was it like to work with Lebo M. again on the score? Had you worked together much in the intervening years?Zimmer: Yes. We had worked on a couple of movies nobody went to see (, and we did touring together. Africa s always been important to this world, and at the same time, it s like it needs more respect. It needs more love. And Lebo s been touring with me, so we have been doing Lion King, bits and pieces of it live. Yes, we ve been comrades in arms for a long time, you know? And he s been sort of the guardian of the musical. Because he s really great at casting this thing. That sort of stuff. He s been looking after our legacy in a much more profound way than I have.So, your daughter: Has she seen the film? Did she say whether you screwed it up?Zimmer: No, but there is something which has puzzled everybody at Disney. They let me have a lot of tickets for the London premiere, and I sent them all back, and I said, I only want two tickets, because I want it to be a father-daughter date. I hope she s still going to be speaking to me afterwards. Simple as that. But it s just going to be the two of us.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.The Lion King is in theaters July 19.
ag环亚体育首页 (Photo by Marvel Studios)The Falcon and the Winter Soldier ran its last episode last week, but some questions about its finale and themes still linger: from production realities of a series made during the pandemic to whether or not John Walker (Wyatt Russell) is a hero.Series director Kari Skogland took a few minutes this week to talk with Rotten Tomatoes about the show and some of its facets, including the thinking behind Sam s gesture for Isaiah Bradley (Carl Lumbly) and the visual tricks used to make Walker s disposition more ambiguous. She also addressed a rumor about a deleted storyline and outlined some of the ways the COVID-19 pandemic had an impact on completing the show.How the Pandemic Complicated Filming of The Falcon and The Winter Soldier(Photo by Marvel Studios)In the run up to the finale, word began to spread that the COVID-19 pandemic had done more than just delay production of the series. According to the reports, a plot involving Karli (Erin Kellyman) and the Flag Smashers was dropped during the months of delays. Skogland denied such a storyline ever existed.“There was no virus storyline,” she said. “The pandemic did not change our storyline, because we knew what we were shooting before[hand]. We were always telling the story we were telling.”Production began in October 2019 in Atlanta, Georgia, continuing apace through the year. Filming moved to the Czech Republic during spring 2020, where it was shut down a few weeks short of completion: “We had shot 75 percent of it when we got shut down,” Skogland said.The production shutdown did impact the series in other ways, though; for one, post-production began earlier than expected, leading to some of the program’s extra polish, according to Skogland.